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I’m so glad that Broken Social Scene introduced me to Gentleman Reg. But even so, I have time and again failed to give him enough attention. The truth is, his 2004 album, Darby and Joan, is really solid and deserved a lot more listens than I initially agreed to give it.

This is my document. I’ve spent boring hours in the office tower. But I just switched jobs and hope this will reinvigorate me. This might mean that I post less often, but hopefully you can forgive me. I’m totally excited. And hooray for hollaring vocals.

“Brother,” the song which put Annuals on the map a couple months ago starts of unassumingly enough. From the near silence of what sounds like a field at midnight, a gentle guitar builds, along with Adam Baker’s delicate voice, before exploding into a tornado of sound (beat that, Phil Spector) that is the musical equivalent of a Tasmanian Devil entrance. I like it because it makes me pedal faster.

I was a little confused and unsure about José González playing the Vista movie theater last week. I guess it is an appropriate venue: he is big enough now to fill it up, and his soft-spoken songs are great but can create some pretty tired and sore legs in standing-room-only venues. Hearing that it sold out, I was worried I’d be staring at a speck of light from the back of the theater, so I showed up early… ok, on time, and ended up front & center in a spot that was closer to him than the last time I saw him at Hotel Cafe.

Back in May, MC Lyte, but more importantly, DJ Premier returned with “Wonder Years,” the lead single off of Lyte’s soon-to-be released album, Back to Lyte. The lyrical content is relatively bland, focusing on a return to form for the rapper-turned-actress. But her flow is solid as ever, and the Premier-produced backdrop is the surprisingly tight. It is vintage Primo, and I like it better than anything off of that last Gang Starr album.

I have about as much trouble liking Mercury Rev as I do disliking them. I saw them perform at Coachella in 2005. They went on late and played well past their time. I was trying my best to get as angry as I could that they were holding up Spoon, who were scheduled to finish out the night. But when “Holes” came on and lead singer, Jonathan Donahue, belted out the sweeping ballad in a manner that would not be out of place for a conductor for an all-transvestite orchestra, I couldn’t help but suspend any animosity. I can still visualize his giddy and over-dramatic presence in front of a projected backdrop of romanticized nature imagery. It was an incredible experience. Although I can’t get it to most of their dreamy-pop meets Flaming Lips sound, “Holes” kills me. I think its because every line ends on the same note, like they’re all questions. I still don’t understand how its the first song on Deserter’s Songs. What a finale it would have made.

Growing up on offerings from the D.C. indie & punk scene, I was a big fan of the Nation of Ulysses. Apparently, so was Teenage Gang Debs, apparently a zine that I knew nothing about except that they did a track for Teenbeat 50. I always thought the track, “On Tape,” was cute and witty, and was a nice companion to the compilation’s pornographic cover art. I didn’t realize until later that it was actually a cover, well, an interpreted cover, of The Pooh Sticks first recorded track.